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Edgar Allan Poe Biography: Poe was born in Boston, Massachusetts, on 19th January, 1809. Best known for his tales of mystery and the macabre, Poe was one...
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Egyptian — 3000 B.C. to 500 B.C. Seems to have been derived largely from the Early Asian. It influenced Assyrian and Greek decorations, and was used as a motif in some French Empire decoration. Not used in its entirety except for lodge rooms, etc. Grecian — 700 B.C. to 200 B.C. Influenced by Egyptian and Assyrian styles. It had a progressive growth through the Doric, Ionic and Corinthian periods. It influenced the Roman style and the Pompeian, and all the Renaissance styles, and all styles following the Renaissance, and is still the most important factor in decorations today. Roman — 750 B.C. to 450 A.D. Rome took her art entirely from Greece, and the Roman is purely a Greek development. The Roman style “revived” in the Renaissance, and in this way is still a prominent factor in modern decoration. Pompeian — 100 B.C. to 79 A.D. Sometimes called the Grecian-Roman style, which well describes its components. The style we know as Greek was the Greek as used in public structures. The Pompeian is our best idea of Greek domestic decoration. Pompeii was long buried, but when rediscovered it promptly influenced all European styles, including Louis XVI, and the various Georgian styles. Byzantine — 300 A.D. to 1450 A.D. The “Eastern Roman” style, originating in the removal of the capital of the Roman Empire to Constantinople (then called Byzantium). It is a combination of Persian and Roman. It influenced the various Moorish, Sacracenic and other Mohammedan styles. Gothic — 1100 to 1550. It had nothing to do with the Goths, but was a local European outgrowth of the Romanesque. It spread all over Europe, and reached its climax of development about 1550. It was on the Gothic construction that the Northern European and English Renaissance styles were grafted to form such styles as the Elizabethan, etc. Moorish — 700 to 1600. The various Mohammedan styles can all be traced to the ancient Persian through the Byzantine. The Moorish or Moresque was the form taken by the Mohammedans in Spain. Indian — 2000 B.C. to 1906 A.D. The East Indian style is almost composite, as expected of one with a growth of nearly 4,000 years. It has been influenced repeatedly by outside forces and various religious invasions, and has, in turn, influenced other far Eastern styles. Chinese — 3500 B.C. to 1906 A.D. Another of the ancient styles. It had a continuous growth up to 230 B.C., since when it has not changed much. It has influenced Western styles, as in the Chippendale, Queen Anne, etc. Japanese — 1200 B.C. to 1906 A.D. A style probably springing originally from China, but now absolutely distinct. It has influenced recent art in Europe and America, especially the “New Art” styles. Italian Gothic — 1100 to 1500. The Italian Gothic differs from the European and English Gothic in clinging more closely to the Romanesque-Byzantine originals. Tudor — 1485 to 1558. The earliest entry of the Renaissance into England. An application of Renaissance to the Gothic foundations. Its growth was into the Elizabethan. Italian Renaissance, Fifteenth Century — 1400 to 1500. The birth century of the Renaissance. A seeking for revival of the old Roman and Greek decorative and constructive forms. Italian Renaissance, Sixteenth Century — 1500 to 1600. A period of greater elaboration of detail and more freedom from actual Greek and Roman models. Italian Renaissance, Seventeenth Century — 1600 to 1700. The period of great elaboration and beginning of reckless ornamentation. Spanish Renaissance — 1500 to 1700. A variation of the Renaissance spirit caused by the combination of three distinct styles—the Renaissance as known in Italy, the Gothic and the Moorish. In furniture the Spanish Renaissance is almost identical with the Flemish, which it influenced. Dutch Renaissance — 1500 to 1700. A style influenced alternately by the French and the Spanish. This style and the Flemish had a strong influence on the English William and Mary and Queen Anne styles, and especially on the Jacobean. German Renaissance — 1550 to 1700. A style introduced by Germans who had gone to Italy to study. It was a heavy treatment of the Renaissance spirit, and merged into the German Baroque about 1700. Francis I — 1515 to 1549. The introductory period when the Italian Renaissance found foothold in France. It is almost purely Italian, and was the forerunner of the Henri II. Henri II — 1549 to 1610. In this the French Renaissance became differentiated from the Italian, assuming traits that were specifically French and that were emphasized in the next period.
Early modern Europe was a period of patriarchy, in which men were in control and women only truly had a say in the household affairs. Power and regulation lay in the hands of men, while the care of the children and the making of food and drink lay with the women
Artemisia Gentileschi was the greatest female artist of the Renaissance. The story of her rape and torture was even more grisly than her bloody masterpieces.
Art has always been a way to express how it felt to exist at a certain time, capturing its essence, struggles, and triumphs. While it’s hard to imagine, artists of the past share a lot more in common with present-day folks, making these masterpieces relevant even after hundreds of years.
Pierre Maurice Sendak Harper & Row, 1962 The winner of the latest Great Monday Give mentioned this in a comment today, so I thought I'...
‘Fix your waistline and eat that salad!’ What's wrong with advertising for women? Everything
Jean-Jacques Lequeu (Architect, 1757-1825) worked in France at the same time of Etienne-Louis Boullée (1728-1799) and Claude-Nicolas Ledoux (1736-1806) and shared with them his faith in science and similar visionary approach, but not an equal fame. His research was even more unorthodox and...
Why Do People Lie? People lie for various reasons such as, but not limited to: appear credible, appeal to someone,
Make a great first impression and avoid the slush pile with your free publishing guide, "Three Red Flags That Will Stop an Agent from Reading Your Novel."
Free Social Emotional Learning Poster: If Feelings Could Talk, what would they be telling you that you need right now?
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Screw the medical journals that say CPR is only 5-10% successful!
125 years after his birth, the fantasy writer is more popular now than ever, even while fans wrestle with his contemptible beliefs.
Foreign intervention and technocratic governance: these are very contemporary issues, and ones with which liberals wrestle as much as reactionaries. Liberals may despise empire nostalgia, but many promote arguments about intervention and governance that have their roots in an imperial worldview. We should not imagine that apologists for empire are simply living in the past. They seek, rather, to rewrite the past as a way of shaping current debates. That makes it even more important that their ideas and arguments are challenged openly and robustly.
Most great stories are exaggerated to make them seem even more exciting or crazy. Help your child understand hyperbole with this fill-in-the-blank activity.
Provides resources for self-study for animation professionals, students, educators and researchers.
Digital PDF Book Instant Download. The Art of Illuminating and Missal Painting BY W. & G. AUDSLEY WITH ILLUSTRATIONS IN CHROMOLITHOGRAPHY. 95 pages This Book was originally published in 1861 ****====================================================**** My Personal 100% Guarantee To You If you Buy this Book and after reading it, You feel that You did not get Your Money's worth from it, Message me and I will cancel your purchase and Refund Your Money. And You Can Keep The Book as My Personal Gift To You. ****====================================================**** PREFACE Owing to the rapidly increasing love for the beautiful Art of Illumination, and the devotion with which it is being studied throughout the length and breadth of our land no apology is required for the appearance of this little volume. We have endeavoured to write it throughout in a simple and connected manner, in order to save, as much as possible, confusion and doubt in the minds of our readers; and we trust it will be found of practicable value to the Student and Amateur. Having had considerable experience in all branches of the Illuminator's Art, and being at the present time engaged upon the most extensive modern original illuminated work* that has ever been offered to the public, we can, with assurance, lay before our readers our few remarks on materials and the manipulative processes. With the able assistance of the publishers, we have introduced a more complete series of illustrations than has ever before been offered, even in works of five times the price of the present. W. & G. A. Liverpool, January, 1861. Inside you will find: PREFACE INTRODUCTION. PART FIRST THE ART DURING THE MIDDLE AGES. PART SECOND MATERIALS USED IN THE EARLY PRACTICE OF THE ART. MATERIALS. METALLIC PREPARATIONS. VELLUM, CARDBOARD, AND PAPERS. INSTRUMENTS. BRUSHES. PENS AND PENCILS. BURNISHERS. SUNDRIES PART THIRD MANIPULATORY PROCESSES LETTERING. OUTLINING. THE CARTOON TRACING. TRANSFERRING. INKING IN. GILDING AND SILVERING. BURNISHING. COLOURING. DESIGN. CONVENTIONALISM. SYMBOLISM. HARMONY AND CONTRAST OF COLOUR. STYLES OF COLOURING. DESIGN AND COMPOSITION. CONCLUDING REMARKS. ====================================== This scarce book is included in our special Rare Books Recycled Series. In the interest of creating a more extensive selection of rare historical books, we have chosen to Digitize this title even though it may possibly have occasional imperfections such as missing and blurred pages, missing text, poor pictures, markings, dark backgrounds and other Digitizing issues beyond our control. Because this work is culturally important, we have made it available as a part of our commitment to protecting, preserving and promoting the world's rare works of literature that would not normally be available. ====================================== This Book is intended for education and informational purposes only. Our modification and restoration process of this book, has resulted in our creating a new work (restored or annotated or improved work), that gives us a clear and novated copyright to this modified version. ====================================== Please note. This ebook is in PDF. file format. You can read it on your iPad or Tablet with iBooks. You can read it on your computer with Adobe Acrobat Reader If you do not have Adobe Acrobat Reader installed in your computer, you can download it from Adobe. It's completely FREE. ====================================== Shipping is FREE via Instant Digital Delivery: This is a digital item. Once Payment is received, your book will be available in your etsy purchases to download directly to your iPad, Tablet or computer. .
Even though I don't really need to do much more research, I seem to be addicted to downloading books from Internet Archive. I really am a research junky. I guess I may as well put all this research energy to good use by sharing some of the good stuff I've found. Because I'm putting lots of pictures in this post, I'm going to insert a page break so it won't bog down folks loading the main page. If you want to see all of the pictures, you'll have to open the post. On my mind this week are closets and other bedroom built-ins—probably because we're trying to make progress on our closet this month. I've cited where I got the drawings. From Housewifery by L. Ray Balderton, 1919 From Home Interiors by the National Lumber Mfg. Association, 1929 From Home Interiors by the National Lumber Mfg. Association, 1929 These three wardrobes are from the Morgan Millwork catalog (1921) I shared a couple days ago. These 5 pages about Closets and Wardrobes are from the book What Makes the House Beautiful: A Collection of Building Details and Measured Drawings, published in 1920 by Henrietta C. Peabody. And three more from various sources. From the Curtis Cabinet and Stair Work catalog, 1927. From an Ideal Built-In Furniture catalog, c. 1920 From a Sears Honor Bilt Building Materials catalog, 1930.
About The Sibyl in Her Grave Follow the money in this gripping literary puzzle—the fourth and final installment of Sarah Caudwell’s brilliant Hilary Tamar mystery series. “Sarah Caudwell is one of my very favorite mystery writers.”—A. J. Finn, New York Times bestselling author of The Woman in the Window Julia Larwood’s Aunt Regina needs help. She and two friends pooled their modest resources and invested in equities. Now the tax man demands his due, but they’ve already spent the money. How can they dig themselves out of the tax hole? Even more to the point: Can the sin of capital gains trigger corporeal loss? That’s a question for the sibyl, psychic counselor Isabella del Comino, who has offended Aunt Regina and her friends by moving into the rectory, plowing under a cherished garden, and establishing an aviary of ravens. When Isabella is found dead, all clues point to death by fiscal misadventure. So Julia calls in an old friend and Oxford fellow, Professor Hilary Tamar, to follow a money trail that connects Aunt Regina to what appears to be capital fraud—and capital crime. The two women couldn’t have a better champion than the erudite Hilary. Once again Sarah Caudwell sweeps us into the scene of the crime, leaving us to ponder the greatest mystery of all: Hilary themself. Don’t miss any of Sarah Caudwell’s riveting Hilary Tamar mysteries: THUS WAS ADONIS MURDERED • THE SHORTEST WAY TO HADES • THE SIRENS SANG OF MURDER • THE SIBYL IN HER GRAVE
Domenico Tintoretto Portrait of a man St. Petersburg, Hermitage